His "solo" debut, Usfret (CMP, 1988), features the likes of trumpeter
Don Cherry, guitarist Ralph Towner, Indian violinist Lakshminarayana Shankar,
Swedish bassist Jonas Hellborg, French keyboardist Daniel Goyone and his own
mother, vocalist Shobha. The album shuns the exotic overtones and delves into
supernatural spirituality.
Shobha opens in an atmosphere of mystery before percussion, trumpet
and violin launch in an Indian frenzy and the plaintive cantillating soars
from the jungle.
Electronic strings float around Shobha's intense Om.
Cherry's dreamy trumpet phrases and Shobha's ecstatic laments hypnotize
Shangri La, another track soaked into metaphysical suspense; it segues
seamlessly into Usfret, a mixture of wordless chanting and rhythmic and quasi orchestral emphasis.
The album exceeds in variety with the
surreal funk music of Goose Bumps and the
loungey piano sonata Milo.

Indian percussionist Trilok Gurtu (1951), the son of vocalist Shobha Gurtu, who had played with Don Cherry (1976), with Oregon (1984) and with John McLaughlin (1989),
perfected a technique that draws equally from Indian tabla and dhol drums,
from jazz music (cymbals, hi-hats) and from other ethnic cultures
(gongs, congas, cowbells, snares).
He even dipped resonating instruments in buckets of water to produce sounds
that he could not produce with traditional instruments.
He began his mission with
the intense mixture of Indian music, jazz-rock and world-music of the double-CD Usfret (1988), featuring the likes of trumpeter Don Cherry, guitarist Ralph Towner, Indian violinist Lakshminarayana Shankar, Swedish bassist Jonas Hellborg, French keyboardist Daniel Goyone and his own mother, vocalist Shobha, although the album still downplayed the exotic overtones and emphasized instead supernatural spirituality.
His world horizons further expanded on Living Magic (march 1991), performed by a multinational septet with Goyone, Norwegian saxophonist Jan Garbarek, Brazilian percussionist Nana Vasconcelos, Belgian bassist Nicolas Fiszman, British kora player Tunde Jegede and Indian veena player Shanthi Rao.
Electronic keyboards and a lot more jazz reduced the world-music element on the trilogy that followed: Crazy Saints (june 1993), featuring Goyone, keyboardist Joe Zawinul, guitarist Pat Metheny, Dutch cellist Ernst Reijseger, French bassist Marc Bertaux;
Believe (july 1994), for a more regular quartet (Goyone, Vietnamese bassist Chris Minh Doky and guitarist David Gilmore);
and the live
Bad Habits Die Hard (october 1996) by the same quartet but with Andy Emler replacing Goyone on keyboards (and saxophonist Bill Evans and violinist Mark Feldman guesting).
However, Gurtu later embarked on a project to fuse African and Indian music while retaining the western song-oriented format on the following trilogy: The Glimpse (september 1996), whose core was an Oregon-like ensemble with Emler, Bulgarian flutist Teodosii Spassov and Indian-American guitarist Jaya Deva; Kathak (december 1997), an Afro-Indian-jazz jam with Swedish bassist Kai Eckhardt de Camargo, Moroccan guitarist Jaya Deva, Indian sitar player Ravi Chary and vocalist Neneh Cherry; and African Fantasy (2000), performed by a mixed African-Indian ensemble (Chary, Fiszman, Deva and several African vocalists).
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Widely considered one of his generation's greatest percussionists,
Gurtu perfected a technique that draws equally from Indian tabla and dhol drums,
from jazz music (cymbals, hi-hats) and from other ethnic cultures
(gongs, congas, cowbells, snares).
He even dipped resonating instruments in buckets of water to produce sounds
that he could not produce with traditional instruments.

Believe (july 1994) was another spectacular tour de force, but this time Gurtu led a more regular combo: Vietnamese bassist Chris Minh Doky, French keyboard player Daniel Goyone and USA guitarist David Gilmore (of Lost Tribe). And the partners often stole the show.